"End of Days"

Written by:
Douglas Petrie
and
Jane Espenson

Directed by:
Marita Grabiak

March 13, 2003 (WHITE)

Teaser

INT. SEWER ANNEX - DAY

Following a big fat "Previously on Buffy," we cut back into the end of episode 20:

A BOMB. Ticking down, "4, 3, 2..."

We see FAITH. She's standing right before the bomb, behind her are KENNEDY, VI, AMANDA, CARIDAD and the EIGHT ND POTENTIALS (from ep. 20). Faith DIVES instantly, yelling as she goes:

FAITH
Get DOWN!

As Faith dives, the bomb EXPLODES.

A FIREBALL ERUPTS, blasting two ND Potentials STRAIGHT BACK, their bodies taking the explosion's impact directly - and they're still flying toward us when we cut to:

INT. VINEYARD - SECRET CHAMBER - DAY

BUFFY. She stands still, looking on in awe at something before her.

Buffy's POV. She's looking at THE SCYTHE, its blade embedded in rock. We hold on this quasi-religious image for an unadulterated Grail-y moment.

Then, Buffy walks toward the scythe.

She reaches a hand out toward it.

And as she does so, CALEB DROPS DOWN behind her. She whirls to face him. He approaches, never breaking stride.

CALEB
So? You found it.
(shrugs)
Not impressed. Because the question
now, girly girl is: can you pry that
out of solid rock before...

Buffy grips the scythe's handle and, as easily as pulling a knife from butter, PULLS it from the rock.

NOW Caleb stops short.

He's facing a pissed-off Slayer holding one big weapon.

CALEB (cont'd)
Darn.

CUT TO BLACK

END OF TEASER
Act One

INT. VINEYARD - SECRET CHAMBER - DAY

Right where we left off: Caleb stands blocking Buffy's only way out. But she's got that scythe, and it is the only thing between them.

CALEB
Now, before you go hurting yourself,
why don't you do yourself a
courtesy...

He steps forward, holding his hand out.

CALEB (cont'd)
And hand it over now.

BUFFY
Yeah? You want it?

She flips the scythe over in her hand, as if she's done it a thousand times. And now it's a weapon, pointed right at Caleb's throat.

BUFFY (cont'd)
In the head or the gut?

CALEB
You don't even know what you've got
there.

BUFFY
I know you're backing away.

Buffy side-steps AROUND Caleb - and he's keeping his distance. So he goes for attitude:

CALEB
You think wielding some two-sided doo-
dad's gonna make a difference?

We're on Caleb when we hear what seems to be Buffy speaking again.

FIRST/BUFFY
Let her go, Caleb.

ANOTHER ANGLE

REVEALS that The First is standing behind Caleb, in the form of Buffy.

FIRST/BUFFY (O.S.)
I said, let her go.

Caleb talks to The First, but keeps his eyes fixed on Buffy and the scythe.

CALEB
I let her go, she slices me open with
that thing.

FIRST/BUFFY
No, she doesn't. She hasn't got
time. She's got friends - and her
friends are in trouble.

Buffy's eyes flicker to The First.

FIRST/BUFFY (cont'd)
(to Buffy)
Faith go boom.

CALEB
(to the First)
I'm not letting her out of here with
that thing.

FIRST/BUFFY
Sure you are. And then you're coming
back for it later.
(to Buffy)
When she's got her back turned.

CALEB
After all the work we did to free it?

FIRST/BUFFY
It's hers for now. Let her go.

Seething with anger, Caleb steps back.

Buffy shifts her weapon to one hand, then (in a fantastic stunt) jumps up, and with the free hand she catches the edge of the trap-door-opening above her. Still one handed, she swings herself up though the opening and disappears.

INT. SEWER ANNEX - DAY

Smoke swirls about, just clearing enough to give us a look at the sewer annex - which is devastated. Bits of brick and cement fall from the ceiling. A support beam, exposed from the wall, falls halfway and sticks up grotesquely.

Metal groans, we can hear water rushing alarmingly some distance away, girls scream, some cough, bricks continue to crash down, even the explosion itself seems to still be echoing. It's loud and dark and twisted and horrible in here. Vietnam if it was in a sewer.

We find an N.D. Potential pinned, clearly dead. Another is struggling, badly injured, calling out.

Among them, Amanda is laboring, barely on her feet, supporting herself with one arm against the wall, bleeding and terrified.

AMANDA
Hey! Hey! Faith? Anybody?
(panic)
Is anybody here?

She comes upon CARIDAD, also looking banged up, but breathing.

CARIDAD
Me.

AMANDA
Is anybody else alive?

Caridad shakes her head, "dunno." They move on together, passing through the destruction, smoke and twisted metal, we move with them from the annex back into the main sewer...

CARIDAD
Hello? Anyone?

INT. SEWER - CONTINUING...

Which is also loud and dusty. We come upon Vi, also struggling to her feet, cradling her arm.

VI
I'm..
(cough, cough)
I'm here!

Vi looks around, confused, can't see... A hand closes over her arm. She turns... it's Amanda, who has made her way out here.

A few other girls' voices call out, but they're swallowed by the general cacophony. This all happens fast, terror and confusion making the Potentials overlap one another.

CARIDAD
Who else we got?

AMANDA
Dunno.
(to Vi)
You okay?

VI
I think my arm is broken.

Amanda points silently to something nearby... two DEAD BODIES of the Potentials caught in the blast

VI (cont'd)
(weakly)
Guess I'm lucky.

Kennedy joins them, limping.

KENNEDY
Where's Faith?

VI
Don't know...

KENNEDY
Find her.

CARIDAD
Maybe we should get the hell out of
this place, they could be...

KENNEDY
Find her!

OMITTED

ANGLE ON: FAITH, unconscious, as her dripping body is pulled from the water by three ND Potentials.

VI
Oh, God.

The girls turn, approach the body of Faith.

KENNEDY
She alive?

Amanda checks vitals.

AMANDA
Breathing. Pulse.

CARIDAD
We gotta get her out of here.

VI
Which way's out?

AMANDA
There's other girls. There's more
than Faith, we don't even know how
many of us are still...

And she's shut off by the sound, echoing in the darkness, of a GROWL. They all turn to face the source of the sound, but cannot see through the smoke and dark.

AMANDA (cont'd)
(tiny, shit-scared)
Alive.

CARIDAD
Oh, what was that?

VI
It could have been grinding metal, it
could have been...

Again, the GROWL.

KENNEDY
No. It's one of them.

CARIDAD
That's not possible.

AMANDA
How'd it get in here?

VI
(to Kennedy)
Plans?

KENNEDY
Run.

Beat. Then, as one, they all RUN, as best they can, back out of the annex, toward the sewer pipe leading out of here. Other N.D. Potentials are making their way there too.

INT. SEWER - CONTINUING

Kennedy is leading the ambulatory girls here, the team helping carry Faith... there is confused shouting...

VI
This isn't the way!

KENNEDY
Yes, it is!

CARIDAD
We're heading in the wrong direction!

KENNEDY
No! This is it -
(unsure)
It's just... It looks different...

ANGLE TO REVEAL... fallen pipes and bricks clutter the way out. It's a PILE OF DEBRIS.

KENNEDY (cont'd)
Cut the chatter, up and over it!
Wounded first, let's go!

Kennedy half-helps, half-shoves Vi up the pile. Vi climbs up on some of the debris... peeking over... just as an UBERVAMP pops up, right in her face. She SCREAMS and falls back.

VI
Aaah!

Much yelling and confusion. Vi scrambles back into the group, Kennedy grabs hold of her and pulls her into the CLUSTER of potentials.

KENNEDY
Group together, form a circle.
Nobody panic! It's all of us - one
of him.
(re: pile of debris)
And he's gotta get over that.

But as she finishes this sentence, she does not see the SECOND UBERVAMP emerge from the darkness behind them (on this side of the debris).

KENNEDY (cont'd)
We can take one of these things.

INT. SUMMERS' HOME - LIVING ROOM - DAY

A large excited group (15?) of N.D. POTENTIAL SLAYERS is gathered around ANDREW, who is unloading groceries from a large duffle bag onto the coffee table. Some of the girls have gotten into another similar bag... they grab at the things they want most. (Not a riot, just kids.)

ANDREW
It was pretty exciting. A whole
grocery store, just abandoned. Food
lying around everywhere. The produce
was on its way to funky town, but the
other stuff was just --

GILES (O.S.)
Oh for god's sake!

Angle on: Giles, who has entered and is surveying the scene.

ANDREW
Hi Mr. Giles. Okay, I did a little
looting, which is technically
unethical, but these girls need to
eat--

GILES
(impatient)
Andrew, things are getting very dire
around here, and we've got more
important things to worry about than --
Ooh! Jaffa Cakes!

Giles gets into the groceries.

ANDREW
(general announcement)
The apples still looked pretty good,
so everyone make sure they check
those out --

There's a clatter at the door as ANYA, XANDER, WILLOW and DAWN return. Xander is first into the living room. Giles swallows what he's eating to ask:

GILES
Did you find Buffy?

XANDER
No.

ANDREW
But you did that spell with the
little lights. The locator.

ANYA
It crapped out on us.

DAWN
No, it didn't... exactly.

WILLOW
It just took us to an empty house.
She must've moved on already.

GILES
Well, I'm afraid there's rather worse
news here...

He glances toward the Potentials, who are still involved with the food. He leads the principals off to the side for more privacy. Andrew tags along.

GILES (cont'd)
Faith hasn't returned with the other
girls. Something's gone wrong.

ANDREW
I've been keeping morale up, because
that's important.

WILLOW
We have to go to her.

XANDER
Guess so.

ANDREW
Yes.
(then)
I'll stay here, keep working on that
morale thing.

CUT TO:

INT. SEWER ANNEX - DAY

The Potentials stay clustered together in their tightening circle, all facing the pile of debris... defense mode.

KENNEDY
Remember the training - everybody get
ready!

Before she can finish this sentence, Kennedy gets JUMPED from behind by the second Ubervamp. She screams, and, purely on instinct, FLIPS the attacking Uber over her shoulder.

AMANDA
There's another one!

KENNEDY
Move, move, move! Up and over!

Kennedy ushers the Potentials past her, shoving them forward, past the Uber she just flipped.

AMANDA
Not that one -

Amanda PULLS Kennedy around by the shoulder.

ANANDA (cont'd)
That one!

Kennedy looks up to see a THIRD UBERVAMP as it scrambles up a tilted metal beam atop the pile. It stops atop the beam and crouches down, perched like some bird of prey, eyeing the Potentials, and opens its mouth to HISS.

The girls back away from it.

CARIDAD
Weapons! Over there.

The Ubervamps are now POURING over the debris into this area They LUNGE as one upon the tight pack of Potentials. The Potentials RUN as the trio of Ubers converge. Some make it past them and get over the debris.

One doesn't. Amanda stops, turns back and looks to see:

Amanda's POV The Ubers SURROUND the Potential, literally RIPPING HER APART with animalistic brutality and speed. Caridad grabs hold of Amanda and pulls her along.

ANGLE ON: MAIN SEWER

One of the WEAPONS left over from the Bringers lies on the floor. Kennedy runs for it. Kennedy grabs the weapon, holds it up, protecting the others, waiting for the Ubers.

She waits all of one second. Their mouths bloody from their fresh kill, the Ubervamps make their way toward the Potentials. The Potentials are literally backed up against a wall. The FIRST UBER comes upon Kennedy and, lightning- fast, RIPS the weapon from her hand.

He slaps a long-fingered hand around her throat. LIFTS her up above him with ridiculous ease.

When we hear a loud CRASH of cement, mortar and dust falling hard on the metal grate behind her. LIGHT streams in from above as BUFFY lands on the grate, having crashed down from above. And she's holding the scythe.

This all happens fast: Uber One DROPS Kennedy and lunges for Buffy. Buffy, holding the scythe by its handle, PUNCHES Uber One right in the throat - with the scythe's BLADE.

The Blade goes right through its NECK in one solid motion. Decapitated, the Uber DUSTS before Buffy can even pull back her fist.

And while this punch is still extended, Ubers Two and Three rush Buffy from behind. They move fast - but Buffy spins and the STAKE end of the scythe goes right through Uber Two with a hideous CRUNCH - passing through his stone-hard breast bone and into his heart.

ROARING, Uber Two DUSTS. Leaving only Uber Three, who GRABS Buffy and in the same motion HURLS HER hard onto the metal grating. Then JUMPS HER.

Buffy ROLLS BACWARD, out of Uber Three's reach, and, coming up, FLIPS THE scythe over into position so once she's on her feet facing Uber Three ---

She's in perfect position to use the thing as an AXE. Which she does, cutting Uber Three's HEAD OFF.

It DUSTS instantly.

Buffy, still holding the scythe, looks below her to see:

The Potentials looking up at her with awe and reverence. (Buffy's being backlit by the cathedral-like streams of light from the sewer ceiling don't hurt none.)

BUFFY
Get the wounded. We're leaving.

KENNEDY
Are there more?

BUFFY
There's always more. Let's move.

And... BLACKOUT.

END OF ACT ONE
Act Two

INT. SUMMERS' HOME - ENTRYWAY/LIVING ROOM - DAY

It's fairly chaotic here. Conscious wounded N.D. Potentials mill around in the living room. Dawn is busy bandaging these girls. Three unconscious girls are laid out on make-shift pallets. Willow is attending to them. Buffy bends over a hurt girl, trying to staunch a wound with her bare hand.

BUFFY
Willow! C'mere. This girl's losing
blood.

Willow joins Buffy, staunches the girl's wound with cloth.

WILLOW
Got it.

Buffy stands up, looking over the scene. She wipes her bloody hands on the blanket on the floor, then picks up something, and for the first time we realize SHE HAS THE SCYTHE WITH HER. Her attention is drawn to the open front door where Xander and Giles enter carrying the unconscious Faith (Faith is turned away from us -- no need for Eliza) Buffy steps over to join them, carrying the scythe.

BUFFY
The room upstairs is ready for her.

GILES
Good.

XANDER
Hope we're in time.

Kennedy and Amanda trail in after Faith, and look on worriedly. They all have cuts and scrapes and bruises. Kennedy (neck already bandaged) is wrapping another bandage around her arm during this scene.

The Potentials talk to each other:

AMANDA
(re: Faith)
Is she okay? Is she gonna be okay?

KENNEDY
I'm sure she'll be fine. Right?

Giles and Xander are climbing the stairs with Faith. Buffy stops in the entryway with the Potentials.

Throughout this conversation, Willow, Dawn and other girls will pass through the entryway with water, bandages, etc.

BUFFY
I'll be up in a second.

XANDER
(to Giles)
Careful...

GILES
Watch her head.

Buffy looks up after them.

KENNEDY
You guys heal fast, right? You
Slayers?

BUFFY
(absently)
Yeah.

KENNEDY
So... she'll be okay?

BUFFY
I don't know.

CARIDAD
(re: scythe)
What's with the axe-thing?

Buffy is still looking up the stairs.

BUFFY
I took it from Caleb. Might be
important.

VI
Let's hope.

AMANDA
I think we got punished.

That gets Buffy's attention. She looks at Amanda.

BUFFY
What?

KENNEDY
We... we followed her. And it was...

VI
It didn't work out.

BUFFY
That wasn't her fault. It was a
trap. I could've fallen for it as
easy as her.

CARIDAD
So... are you... are you, like, back?

BUFFY
I don't know. I guess I'm not
leaving.

Kennedy nods, satisfied.

KENNEDY
So... we got a plan now or anything?

Buffy heads up the stairs. She calls back:

BUFFY
Yeah, there's a plan. Get ready.
Time's up.

As she goes farther we hear, receding behind her:

AMANDA
I still think we got punished.

INT. SUMMERS' HOME - HALLWAY/BUFFY'S ROOM - CONTINUING

Buffy arrives at the top of the stairs, makes her way to her old room and stands in the doorway...

Looking in, she sees Xander and Giles tending to Faith. Three more N.D. Potentials stand watching.

XANDER
Is she breathing okay?

GILES
(nods)
Still not conscious, though.

Buffy almost lets the emotion of it take over, but she steels herself.

BUFFY
We've still got work to do.

INT. SUMMERS' HOME - WILLOW'S ROOM - DAY

Buffy stands, every inch the general, watching as Willow and Giles examine the scythe. This is all urgent:

BUFFY
I think it's... maybe some kind of
scythe? Only thing I know for sure
is, it made Caleb back off in a hurry.

WILLOW
So it's true. Scythe matters.

Giles tries very hard to ignore that, and continues examining the scythe.

GILES
And, ignoring that, I'd like to point
out:
(re: scythe)
It's really quite ingenious.

BUFFY
Kills strong bodies three ways.

WILLOW
And you say you sense something when
you hold it?

BUFFY
Not much, just... it's strong. And
I knew it belonged to me. I mean, I
just knew it.

GILES
So in addition to being ancient, it's
clearly mystical.

BUFFY
Yeah, I figured that when I King-
Arthur'd it out of that stone.

WILLOW
Sounds like maybe some kind of
traditional slayer weapon?

GILES
It's hard to imagine something like
that could exist without my having
heard of it.

BUFFY
Yeah, well, the good guys aren't
traditionally known for their
communication skills.

She says this without making eye contact with Giles. He swallows it, moves on:

GILES
Right. Is there any chance it's
something besides a tool to kill
things?

Buffy shrugs, "who knows."

BUFFY
The First's guys were clearly trying
to get it out of that stone. It's
not just some tool; it's important.
Find out whatever you can: Who made
it, why. And when. Does it have a
name? And, I dunno, a credit report?
Find out fast.

GILES
We'll start work immediately.

WILLOW
Don't worry, Buff. We'll find out
everything there is to know.

BUFFY
Thanks, because right now, this
thing's all we've got going for us.

INT. SUMMERS' HOME - LIVING ROOM - DAY

Two injured N.D. Potentials lie on the floor, on makeshift pallets, covered in blankets.

Anya is tending to one of the girls. Andrew is trying to bandage the shoulder of the other with strips of cloth -- clearly torn from a flowered bed sheet.

ANDREW
I liked the real bandages better.
This bed sheet is awfully festive.

ANYA
I know. They're all gonna look like
mortally wounded Easter baskets.

INJURED GIRL
(weak, alarmed)
What?

Anya is taking a swig from a bottle of Scotch.

ANDREW
Hey! We're supposed to use that to
sterilize wounds! Mr. Giles said!

ANYA
Oh, what does it matter?

ANDREW
Hmm. Good point.

She hands the bottle to Andrew, who drinks.

ANYA
Giles knows his single-malt
antiseptics.

ANDREW
Bleahh. Everything is horrible.

ANYA
Yup. Many of these girls will die.
Slaughter-house, is what it is.

INJURED GIRL
(weak, more alarmed)
What?

ANYA
(to girl, kindly)
Trying to talk will just kill you
sooner.

ANDREW
We need supplies. And not just
bandages and junk. These girls need
stitches and pain killers...

ANYA
And I could use a cookie. But I'm
not making reckless wishes.

ANDREW
No, we can do it. The hospital.
It's gotta be all abandoned like the
grocery store was. Stuff just lying
there for the taking.
(heroic)
I'm going in.

ANYA
You are?

ANDREW
And you're coming with me.

ANYA
I am?

ANDREW
Well, I think you should drive 'cuz
that scotch made me a little dizzy.

ANYA
I'll get Kennedy to watch these
girls. She's tough. Imminent death
won't bother her.

Anya and Andrew exit.

INJURED GIRL
(weak, alarmed,
looking around)
What?

INT. SUMMERS' HOUSE - KITCHEN - DAY (SAME TIME)

Buffy and Xander (wearing his eyepatch) are in the middle of an intense conversation. (By the way, the scythe is not present for this scene.)

BUFFY
You got it?

XANDER
Wait. I'm not to the "got it" place
yet. I'm still in the neighborhood
of "you've got to be kidding."

BUFFY
You know it's for the good.

XANDER
I don't... Buffy, do you get that, if
I do this, that's it for me for this
fight?
(beat)
I feel like you're putting me out to
pasture.

BUFFY
Of course I'm not putting you out to
pasture...
(beat)
What does that even mean?

XANDER
(searching)
Oh, you know, it's like... when a cow
gets old and loses an eye or its
ability to be milked, the farmer
takes it and puts it in a different
pasture where it won't have to...
(more searching)
Fight... with priests...
(recovering)
You don't have to protect me.

BUFFY
I'm not.

XANDER
I got hurt. But I'm not done. I can
still fight.

BUFFY
I know. That's why you're doing
this. I need someone I can count on.
No matter what happens.

XANDER
I just... always thought I'd be here
for the end with you.

BUFFY
Hey --

XANDER
(quickly)
Not that this is the end.

BUFFY
Thanks a lot.

XANDER
No no no no. I meant "end" in a
heroic, uplifting, way.
(beat)
I'm still optimistic! You're just
thrown off by this gritty looking
eyepatch.

She smiles.

BUFFY
I know what you meant.

XANDER
I should be at your side. That's all
I'm saying.

BUFFY
You will be.
(beat)
You're my strength, Xander. I never
would have made it this far without
you.

Her words move Xander, but he tries not to show it.

BUFFY (cont'd)
I trust you with my life. That's why
I need you to do this for me.

On Xander, as this sinks in. Then:

XANDER
Okay.

BUFFY
Also, you can't shoot a bow and arrow
anymore and every time you swing a
sword I worry you're gonna break one
of our good lamps.

XANDER
Hey --

Buffy starts to walk out of the kitchen.

BUFFY
Don't look at me. You're the one who
said I'm gonna die.

XANDER
I didn't say you're gonna die. I
I... implied you're gonna die.
Totally different.

BUFFY
Yeah, okay. Sure.

Xander follows her out.

XANDER
Besides... If you die I'll just bring
you back to life.
(beat)
That's what I do.

INT. SUMMERS' HOME - WILLOW'S ROOM - NIGHT

Willow sits at her computer. Giles consults old texts. The scythe sits prominently in the foreground.

WILLOW
Okay, before the vineyard was just,
you know, a vineyard? It was a
monastery.
(re: scythe)
It coulda been put there then.
Creepy monks, messing with powers
they don't understand...?

GILES
No. It's far older. Pre-Christian.

WILLOW
Well, I found a reference to stories
the monks used to tell about
something older... like, maybe some
kind of pagan temple.

GILES
Native American?

WILLOW
No... I don't know... maybe we're
coming at this the wrong way. Maybe
we need to research the weapon
itself. I mean... look... maybe it's
the Axe of Dekeron,
(reads)
said to have been forged in Hell
itself. Lost since the Children's
Crusade, where it killed a lot of...
oh... children.
(looks up)
I hope that's not it.

GILES
I've found reference to the Sword of
Moskva, and the Reaper of the Tigris.
I don't see how we're going to narrow
this down. There's never a clear
enough illustration.

He slams a book closed.

GILES (cont'd)
Damn. We're running out of time and
we've nothing useful.

Willow crosses to the scythe, picks it up.

WILLOW
It doesn't have any markings. Would
it be so hard to include a little
sticker? "Hello, my name is the
Blank of Blankthuselah, consult
operating instructions before
wielding."

She closes her eyes, looks meditative.

GILES
Willow? Do you feel the power Buffy
talked about?

Willow opens her eyes.

WILLOW
Gotta say no. Must be a Slayer thing.

GILES
Tapping into some Magicks might help
with that.

WILLOW
It might. But this... thing... I
mean, if Caleb is scared of it, it's
something pretty dangerous, and
tapping into that...

She puts the scythe down, a little scared of it.

GILES
Willow... you know there's a way to
do it without endangering yourself.
Drawing positive power from the
earth, the power that connects
everything...

WILLOW
I know. And when I was in England I
got it. But here... I can't do it.
If I tried something big... I just
know I'd change and then it's all
black hair and veins and lightning
bolts. I mean, I can barely do the
locator spells without getting dark
roots.

GILES
But if it's necessary...?

WILLOW
Giles, honestly... I don't know.

Giles hesitates, deciding how much to push. Finally...

GILES
Do what you can, Willow. That's all
any of us can do.

WILLOW
I guess so.

Willow goes back to the computer, looks at the screen again.

WILLOW (cont'd)
Man. None of these sound right.
Look at this, something just called
"m" with a question mark, what the
heck's that?

GILES
I can't imagine -- Wait. Let me see.

He looks at the screen.

GILES (cont'd)
That's not a question mark. That's
the International Phonetic Alphabet
sign for a glottal stop.

WILLOW
A who-y?

GILES
It's a sort of... gulpy noise. I'm
remembering something here...
hieroglyphs... hieroglyphs stand for
sets of consonants, as you know.

WILLOW
(no one knows that)
Yes, absolutely.

GILES
The consonants "m" plus glottal stop,
are represented by a little picture
commonly thought to represent a
sickle or scythe. It appears in
thousands of carvings, in Egypt and
throughout the ancient world.

It's starting to dawn...

WILLOW
Carvings? Like you'd have on a pagan
temple?

GILES
Let's go back... see what else we can
find about that temple.

He picks up the scythe.

GILES (cont'd)
A scythe is a symbol of death. Find
out where these pagans buried their
dead.

INT. XANDER'S CAR - NIGHT

The car is sitting parked in the DRIVEWAY, doors open. Dawn sits in back looking around and under the seats with a flashlight. She has a small weapon bag with her. Xander is in front, looking around the front passenger seat. He is wearing his eye-patch and also uses a flashlight.

DAWN
Xander, my crossbow is not out here.
I told you, I don't leave crossbows
around all willy-nilly.
(beat)
Not since that time with Miss Kitty
Fantastico.

XANDER
Did you know I have to take a
driver's test every year now?

DAWN
Because you're old?

XANDER
No. Because of my eye. It's a whole
state law. They don't trust my depth
perception anymore.

DAWN
That sucks.

Xander gets out of the car, moves around to the open door next to Dawn.

XANDER
You know what's even worse? All the
stupid "It's all fun and games until
someone loses an eye" jokes.
"I guess the fun and games are over,
eh Xander?"

[Note: The above line should not be spoken with an English accent.]

DAWN
Giles was just having fun with you.

XANDER
That's not the point! It's an
obvious joke. It'd be like if
someone called me a cyclops.

DAWN
(laughing)
Oh right! I didn't even --
(off his look)
That's not funny at all.

XANDER
I mean, give me an "eye of the
beholder" joke or an "eye for an eye"
joke or maybe even a weird postmodern
"I, Claudius" joke.
(beat)
It's about standards, Dawn.

She gets up out of the car.

DAWN
I know.

XANDER
Just be creative.

DAWN
You know, everyone's still a little
on guard around you. Give 'em time.

Dawn turns around, back to Xander, moving to shut the front door...

DAWN (cont'd)
Before you know it they'll be --

WHAM -- out of nowhere Xander clamps a HANDKERCHIEF over her nose and mouth. She tries to scream, but it's muffled. She struggles against him, but he holds her firm, his face cold, impassive. After a moment, she slumps unconscious. Xander releases her gently onto the car seat. He looks at her grimly.

INT. VINEYARD - NIGHT

We see The First, in the form of Buffy, standing amidst two dead Bringers and some wine barrels. CRASH! A WINE BARREL comes smashing beside her/it. The First barely gives it a glance, then:

FIRST/BUFFY
Not that I care personally, but
you're wasting a lot of robust, full-
bodied merlot.

We see Caleb, out of breath, having heaved the barrel, standing amidst some more smashed barrels and a broken chair.

CALEB
Why did you let her go? You know I
could take that girl in a fight.

FIRST/BUFFY
We'll get her. Calm down.

CALEB
I'm calm. You should see me when I
get angry.

FIRST/BUFFY
She's powerful now. And you're weak.

CALEB
All of a sudden I'm getting less calm.

FIRST/BUFFY
Face it. Your strength is waning.
It's been a while since we've...
merged.

Caleb looks around, thinks about it.

CALEB
Suppose you're right...
(beat)
Okay. Let's do it.

FIRST/BUFFY
(rolls her eyes)
Boy, you really know how to romance
a girl. No flowers, no dinner, no
tour of the rectory... just "let's do
it." Help me. My knees are weak.

CALEB
Watch what you say now. You're
starting to sound like her. This is
a sacred experience for me.

FIRST/BUFFY
Oh, for me as well...
(beat)
When this is over -- when our armies
spring forth and our will sweeps the
world -- I'll be able to enter every
man, woman and child on the face of
this Earth.

She gives him a seductive look.

FIRST/BUFFY (cont'd)
Just as I can enter you.

CALEB
(coy)
Are you trying to make me jealous?

FIRST/BUFFY
I'm trying to make you a god.

Caleb smiles. He tilts his head back and holds his arms out.

First/Buffy does the same. A moment as they stand there, and then.

The First EXPLODES out of its form as Buffy, becoming its TRUE SELF (see "Amends"). Caleb watches as THE FIRST rises up to the top of the vineyard.

CALEB
(a whisper)
I am thy humble servant.

And The First DIVES INTO CALEB'S BODY, filling him with The First. It's a violent process, but for Caleb, borders on orgasmic. He FALLS TO HIS KNEES.

And stays there. Head bowed, kneeling, looking like a figure in prayer. Then slowly his head rises and he looks up directly in camera, eyes BLACK.

CALEB (cont'd)
And I am ready to serve thee.

Caleb RISES to his feet and stands, a figure of power.

END OF ACT TWO
Act Three

INT. SUMMERS' HOME - BUFFY'S ROOM - NIGHT

Faith sits up in bed, still looking beat up, but much better. She is holding the scythe and her eyes are closed, in the same reverie Buffy enjoyed when she first found it. Buffy stands by the bed, watching.

BUFFY
You feel it too, don't you.

Faith opens her eyes.

FAITH
Damn. And DAMN. That's something.

BUFFY
I know.

FAITH
It's old. Strong. And it feels
like... like it's mine.

She tosses it to Buffy, a slight mixture of shame and resentment under her reasonable tone.

FAITH (cont'd)
So I guess that means it's yours.

BUFFY
It belongs to the Slayer.

FAITH
Slayer In Charge, which I'm guessing
is you.

BUFFY
(sits on the bed)
I honestly don't know. Does it
matter?

FAITH
Never mattered to me. But somebody
has to lead. Let's vote for Chao-
Ahn. Harder to lead people into a
death-trap if you don't speak English.

BUFFY
It's not your fault.

FAITH
Really not looking for forgiveness.

BUFFY
You're not?

FAITH
What do you want me to say? I blew
it.

BUFFY
You didn't blow it.

FAITH
Tell that to the --

BUFFY
People die. You lead them into
battle, they die. No matter how
smart you are, or how ready, war is
about death. Needless, stupid death.

Faith looks at Buffy a moment.

FAITH
So here's the laugh-riot. My whole
life, I've been a loner.

Beat.

BUFFY
Was that the funny part? Did I
miss --

FAITH
I'm trying to --

BUFFY
No no. Sorry. Go.

FAITH
No ties, no buddies, no relationships
that lasted longer than... well I
guess Robin lasted pretty long; boy's
got stamina.

BUFFY
(wide-eyed)
Principal Wood? And you? And on
my...

She gingerly rises from the bed, takes a step from it.

FAITH
Don't tell me you two got wriggly --

BUFFY
(flustered)
No! No! We're just good friends.
Or mortal enemies, depending on which
day of the... is this the funny part?

FAITH
Okay. The point? Me, by myself all
the time, and looking at you,
everything you have, and I don't
know... Jealous. And then there I
am, everybody looking to me, trusting
me to lead 'em... and I never felt
more alone in my life.

BUFFY
Yeah.

FAITH
And that's you every day, isn't it?

BUFFY
I love my friends, and I'm grateful
for them, but yeah, that's the price.
Being the Slayer.

FAITH
There's only supposed to be one.
Maybe that's why you and I can never
get along. We're not supposed to
exist together.

BUFFY
Also, you went evil and were killing
people.

FAITH
(nodding, thoughtful)
Good point. Also a factor.

BUFFY
But you're right. I mean, I guess
everyone's alone, but... Being a
Slayer. There's a burden we can't
share.

FAITH
And no one else can feel it.

Beat.

FAITH (cont'd)
Thank god we're hot chicks with super
powers.

BUFFY
(agreeing)
Takes the edge off.

FAITH
Just comforting.

BUFFY
Uh huh.

INT. SUMMERS' HOME - FOYER/HALL/KITCHEN - NIGHT

Buffy is walking downstairs as Spike comes in the door. She looks at him, not sure how he'll be. (Note: They'll speak in slightly low tones, as there are sleepers about, though we might not see them.)

SPIKE
Honey, you're home.

BUFFY
Yeah.

SPIKE
And you did it. Fulfilled your
mission, found the holy grail, or the
holy hand grenade, or whatever the
hell that is.

BUFFY
(coming down)
Right now we're going with scythe.
You like?

SPIKE
Pointy and wooden is not exactly the
look I want to know better, but it
does have flair. I can see how a
girl would ditch a guy for one of
these.

BUFFY
I'm sorry about that.

She heads to the back space between the kitchen and the living room, Spike following.

SPIKE
Doesn't matter. You're back in the
bosom, all's forgiven, and last night
was just a glitch. A little cold
comfort from the cellar dweller,
let's don't make a thing out of it.

BUFFY
Great. I got work to do.

SPIKE
Another solo mission, of course.

BUFFY
(turning, annoyed)
Yeah. It is.

SPIKE
It's fine. Don't have to get shirty
about it.

BUFFY
I'm not shirty. What is even shirty,
that's not a word!

SPIKE
(not annoyed)
All right, all right. Big secret
mission. It's fine.

BUFFY
It's not a secret. I mean it is, but
that's the point of the mission, find
the secret. This was forged by... we
don't know, something about a tomb on
unconsecrated ground... I gotta find
out what this is, why I have it.

SPIKE
And this is the thing Preacher Man
was so anxious to keep out of your
mitts.

BUFFY
That it is.

SPIKE
Well, maybe I'll swing by his place
while you go, make sure he's sitting
tight.

BUFFY
Great.

SPIKE
Okay.

A beat, and he heads for the back door. Buffy starts going the other way, but turns and goes after him, just to call out:

BUFFY
You're a dope!

He turns, baffled.

SPIKE
I'm what?

BUFFY
You're a dope, and a bonehead, and,
and you're shirty.

SPIKE
Have you gone completely Carrot-top?

She holds up the scythe. Goes on a stage-whisper rant.

BUFFY
You see this? This may actually help
me fight my war. It may be the key
to everything and the reason I'm
holding it is 'cause of you. Because
of last night, the strength you gave
me. I'm tired of defensiveness and
weird mixed signals -- I've got Faith
for that. Let's just get to the
truth. I don't know how you feel
about last night, but I'm not gonna --

SPIKE
Terrified.

She stops. This is definitely truth time.

BUFFY
Of what?

SPIKE
Last night was... God, I'm such a
jerk. I can't do this.

BUFFY
Spike...

SPIKE
(not looking at her)
It was the best night of my life.

Now he does look at her, eyes welling up defiantly.

SPIKE (cont'd)
(re: scythe)
If you poke fun at me you bloody well
better use that 'cause I couldn't
bear it. It may not mean that much
to you --

BUFFY
(softly)
I just told you it did.

SPIKE
I know, I hear you say it, but...
I've lived for sodding ever, Buffy,
I've done everything -- I've done
things with you I can't spell, but
I've never... been close. To anyone,
least of all you... Until last night.
All I did was hold you, and watch you
sleep, and it was the best night of
my life. So I'm, yeah. Terrified.

She comes closer.

BUFFY
You don't have to be.

SPIKE
Were you there with me?

BUFFY
I was.

A beat. Closeness.

SPIKE
What does that mean?

BUFFY
I don't know. Does it have to mean
something?

This kind of breaks the spell. He backs off, not upset so much as withdrawn.

SPIKE
No. Not right now.

BUFFY
Maybe, when --

SPIKE
No. Let's just leave it.

BUFFY
'kay.

SPIKE
We'll go be heroes.

A beat, and he leaves, Buffy watching him go.

INT. HOSPITAL - NIGHT

The hallway of the deserted Sunnydale Hospital. A few wheelchairs sit empty at the edge of the hall, doors stand open, some file folders lie in a toppled stack near an abandoned nurses' station, etc.

Anya and Andrew round a corner and enter our hallway. They're each carrying a pillowcase from the same flowered sheet set we saw earlier. Their pillowcases are each about half-full of pilfered supplies.

ANDREW
Okay, so if the supply closet on this
floor is exactly above the last one,
it should... be...
(pointing
victoriously)
Here!

He is in fact now pointing at a door marked "SUPPLIES."

ANYA
(patient)
Yes, that is consistent with the six
floors we already did.

Andrew opens the door and looks inside.

ANDREW
Oooh! This one has oxygen tanks.

ANYA
They'd only be useful if something
big was attacking and then we could
throw one down their throat and blow
'em up like Roy Scheider did with the
shark in Jaws.

Andrew is staring at her.

ANYA (cont'd)
What?

ANDREW
You are the perfect woman.

ANYA
I've often thought so.
(then, re: supply
closet)
Wanna rob?

ANDREW
Let's rob!

Here they can either ENTER THE SUPPLY CLOSET and take things off the shelves, or, depending on set design, Andrew can reach into the closet and HAND THINGS OUT TO ANYA. Either way, they are still close together.

ANDREW (cont'd)
Cool. Gauze and alcohol and tape and
sutures in case we need to get
stitchy with it. Oh, and there's a
box full of ointments... I used one
a' these on a rash once.

ANYA
Show me.

ANDREW
Well, it's healed up, but it was sort
of red and crusty with little itchy
places --

ANYA
Show me the box full of ointments,
you little freak.

Andrew hands it out to her and she dumps it all out into her pillowcase.

ANYA (cont'd)
Get cotton packing for the biggest
wounds.

Andrew stops and looks at Anya.

ANDREW
This is gonna be bad, isn't it?

ANYA
Yeah.

ANDREW
So, how come you're here? I mean,
you could just go, right?

ANYA
Yeah. I did before.

ANDREW
Before what?

ANYA
There was this other apocalypse this
one time. And I took off. But this
time...

ANDREW
What's different?

ANYA
Well, I was kinda new to being around
humans before. And now I've seen a
lot more, gotten to know people, seen
what they're capable of and I realize
now that they're just so...
amazingly... screwed up! I mean, so
really, really screwed up in a
monumental fashion!

ANDREW
Oh.

ANYA
They have no purpose that unites them
so they drift around, blundering
through life until they die. Which
they know is coming and yet every
single one of them is surprised when
it happens to them. They're
incapable of thinking beyond what
they want at that moment. They kill
each other, which is clearly insane,
but here's the thing. When it's
something real, they fight. I mean,
they're lame morons to keep fighting.
But they do. They... They never
quit. And so I guess I'll fight too.

ANDREW
That was kinda beautiful. You love
humans.

ANYA
No I don't.

ANDREW
Yes, you do. You luuuuve them.

ANYA
Stop it. I don't love them and I'll
kill you if you tell anybody.

ANDREW
I won't tell anybody. Won't get a
chance to, anyway.

She avoids his eyes.

ANYA
I don't know. You might survive.

ANDREW
No. You might survive. You can
handle a weapon, you've been in this
world for, like, a thousand years.
I'm not so... I don't think I'll be
okay. I'm cool with it. I think I'd
like to finish out as one of those
lame humans trying to do what's right.

ANYA
(sympathetic and
honest)
Yeah.

After a beat...

ANDREW
So. Wheelchair fight?

CUT TO:

INT. HOSPITAL - MOMENTS LATER

A single static shot:

Andrew and Anya are seated in wheelchairs, in the middle of a fight: wheeling their chairs at each other, clashing and crashing, intent on the fight.

EXT. UNCONSECRATED BURIAL GROUND - NIGHT

Buffy, holding the scythe, walks to the edge of the clean, well-kept cemetery and gets to...

...the unconsecrated burial ground. Distinctly unkempt. Weedy, thistly. Overgrown. Gravestones are tilted and sparse and untended.

She looks around, finally seeing A TOMB. Egyptian-looking in design.

Buffy walks toward the tomb.

INT. TOMB - NIGHT

WHUMP! A heavy STONE DOOR crashes to the floor, sending up a plume of dust. It swirls and dissipates, revealing Buffy, holding the scythe, standing in the doorway.

She enters, cautiously, looking around.

Buffy's POV: Everything in the Egyptian-style tomb is covered in DUST. We hear a VOICE echo in the dark:

SHE (O.S.)
I'd forgotten.

Buffy WHIRLS, scythe poised to strike, and she sees: an OLD WOMAN, dressed entirely in white, her clothes so old and faded she practically blends in with her dusty, white surroundings. We'll call her SHE.

SHE
I'd forgotten how young you would be.
It comes from the waiting. Mind
plays tricks.

Buffy walks forward.

SHE (cont'd)
I see you found our weapon.

BUFFY
Who are you?

SHE
One of many. Well, time was. Now
I'm alone in the world. I'd gamble
you know what that's like.

She stands, approaches Buffy. Buffy stiffens, defensive.

SHE (cont'd)
Don't worry. You hit me, I'd just
about crack in half, but then...

She examines the scythe from her distance.

SHE (cont'd)
You've been doing some killing
lately. And you're going to do a lot
more. Not a wonder you're anxious.

BUFFY
So, what are you? Some kind of ghost?

SHE
Nope. I'm as real as you are, just
... well put it this way: I look good
for my age. I've been waiting.

She holds out her hand. Beat. Buffy HANDS HER the scythe.

SHE (cont'd)
You pulled it out of the rock. I was
one of those who put it in there, and
don't think that was easy.

BUFFY
What is it?

SHE
Weapon. A scythe. We forged it in
secrecy for one like you, who...

She stops, smiles at Buffy, still holding the scythe.

SHE (cont'd)
I'm sorry, what's your name?

BUFFY
Buffy.

SHE
No, really.

Buffy shrugs.

SHE (cont'd)
Buffy. We forged it in secrecy, kept
it hidden from the Shadow Men, who --

BUFFY
Yeah. Met them. Didn't care for 'em.

She looks at Buffy with new respect, hands the scythe back to Buffy.

SHE
Yes. Then you know. And they became
the Watchers. And the Watchers
watched the Slayers. But we were
watching them.

BUFFY
Oh! So you're like... What are you?

SHE
Guardians. Women who want to help
and protect you. This...
(re: scythe)
...was forged, centuries ago, by us.
Halfway around the world.

BUFFY
Hence, the Luxor Casino theme.

SHE
Forged there, it was put to use right
here. Only once, to kill the last
pure demon that walked upon the
earth. The rest were already driven
under. And then there were men here,
and then there were monks, and the
first men died and were sent away,
and then there was a town, and now
there is you. And the scythe
remained hidden.

BUFFY
Does this mean I can win?

SHE
That's really up to you. This...

She reaches out, runs a finger along the flat side of the scythe.

SHE (cont'd)
... is a powerful weapon.

BUFFY
Yes.

SHE
But you already have weapons.

BUFFY
Oh.

SHE
Use it wisely... and perhaps you can
beat back the rising dark. One way
or the other, it can only mean an end
is truly near.

And just as She finishes this sentence, two HANDS reach in from the darkness behind her, and with blinding speed, SNAP her neck. She falls to the ground, dead.

CALEB steps forward, over the body.

CALEB
I'm sorry, I didn't catch that last
part on account of her neck snapping
and all. Did she say the end is
"near? Or "here?"

And on that we:

CUT TO BLACK.

END OF ACT THREE
Act Four

EXT. DESERT ROAD - NIGHT

Xander's car drives down the lone highway.

INT. XANDER'S CAR - NIGHT

Xander is driving. Dawn is just regaining consciousness in the passenger seat. Her weapon bag is nearby.

DAWN
Mmm. Grrph.

XANDER
Dawn. You awake?

DAWN
What happened?

XANDER
Um... thought you might say that.

DAWN
Actually, I meant to say "what the
hell
happened."

XANDER
It was chloroform.

DAWN
Color forms? What?

XANDER
Chloroform.
(re: her mistake)
Are you still loopy?

DAWN
(dry)
Sorry about that. Someone knocked me
out with chloroform.
(then)
Xander! Talk to me! Where are we
going?

XANDER
Away.

Xander hands her a sealed envelope.

DAWN
What's this?

XANDER
Open it.

Dawn opens the letter, starts to read it. Over her, we hear:

BUFFY (V.O.)
Dearest Dawn. Don't be angry with
Xander. He only did what I told him
to do. This isn't the place for
either of you right now. Please know
that I love you and that everything
I do is for you. I promised once to
show you this beautiful world, and
I'm going to do everything I can to
make that --

ZZZZZZOT. Xander goes rigid and SLUMPS, and we see now that, while reading, Dawn has calmly used a STUN GUN from her weapon bag to zap him.

She just-as-calmly puts her foot on the brake while crumpling up the letter and tossing it in the back seat. No need to read more.

EXT. XANDER'S CAR - NIGHT

The desert road again. The car STOPS. After a beat, it U's and heads back the other way.

INT. TOMB - NIGHT

Buffy looks stunned as Caleb, hand on the scythe, tries to wrest control from her. Buffy recovers, and fast, she WHACKS him in the side of the head with one end of the weapon, then hits him with the other side, then again with the first side - three shots fast.

Caleb lets go. Buffy leaps back.

Caleb rushes at her and unleashes a PUNCH that SHATTERS a big chunk of stone column to dust on contact.

CALEB
You're not slipping out of this
fight, girl. Don't you see? You
can't stop me... I can just keep
going back for more.
(grins)
Like being re-born.

Buffy LUNGES at Caleb with the scythe, and this time, HE DUCKS under its blade - avoiding contact. Buffy presses the attack, swinging and thrusting. Caleb can't be touched.

He smiles - stands upright - a target.

Buffy SWINGS the axe-blade right at his neck - and Caleb, without looking, SHOOTS a hand up and CATCHES the scythe in mid-swing, stopping it cold.

Beat. And with the other hand, Caleb PUNCHES Buffy so hard she goes flying back, into a far wall, sending up a cloud of dust. She DROPS the scythe on impact.

Caleb and Buffy both RUSH for the scythe simultaneously. Caleb gets there first. Holds the scythe up.

For all of a split-second, as Buffy KICKS the scythe from his grip and catches it in the same motion.

She spins, catching Caleb behind the knees with the scythe's shaft and lifting him off his feet. He goes CRASHING to the dusty floor.

Buffy spins the scythe, stake-end first, and THRUSTS it straight to Caleb's throat...

He CATCHES IT an inch before his face. Twists the scythe hard, sideways, sending Buffy FLIPPING over, and now it's her turn to hit the ground.

Caleb leaps to his feet. Buffy staggers to hers - just in time to receive a hard PUNCH IN THE FACE. It sends her back, and Caleb, grinning, just keeps hitting her.

Buffy tries to defend herself with the scythe, but she's running out of steam.

CALEB (cont'd)
I gave you ample warning. I told you
not to interfere. And you chose not
to heed. But you know what?

WHACK! He punctuates this last thought with a punch that sends Buffy THROUGH a stone column, raising dust. She's nearly unconscious.

CALEB (cont'd)
I was kinda hopin' it'd go this way.

Caleb lifts the scythe up over her head, when:

ANGEL (O.S.)
Hey.

Caleb turns and WHAM! He gets HIT in the face with a CRUSHING BLOW struck from a source we cannot see.

Caleb hits the far wall of the tomb, momentarily dazed. The scythe clatters to the ground. Buffy looks up to see: ANGEL. Standing over her, hand held out to her. Buffy takes it. Angel lifts her to her feet, and the two of them stand, side by side.

ANGEL
I never was much for Preachers.

BUFFY
Angel.

ANGEL
You look good.

BUFFY
You look timely.
(beat)
And also good.

ANGEL
Heard you maybe needed a hand.

Caleb gets to his feet. Angel moves toward him, but Buffy places a hand on Angel's arm, holds him back.

ANGEL (cont'd)
Ah. This one of those things you
just have to finish yourself?

BUFFY
Really kinda is.

Caleb, pissed, is now on his feet and moving forward. Buffy PLUCKS the scythe up from the ground and stands her ground.

Caleb RUSHES Buffy. Rains down a series of fast-as-the-eye- can-follow BLOWS upon her. She blocks each and every one of them with the scythe's shaft.

Angel, real nonchalant-like, leans up against a wall. Enjoying the show.

ANGEL
(to Caleb)
You're so gonna lose. She does this
thing where --

As she dodges Caleb...

ANGEL (cont'd)
Ooooh, yeah. I've missed watching
this.

She swings the blade-end of the scythe at him. And for the third time, he CATCHES it. But this time, he SHOVES it back at her, and she twists out of the way... the stake end barely misses her as it embeds in the wall behind her.

She pulls it free, then LOWERS it down, and in one brutal motion...

RIPS the scythe straight up. We hold close on Caleb's face as he realizes he's been GUTTED from below.

Buffy retracts the blade. Caleb FALLS to the floor, raising dust, apparently dead. Buffy addresses Angel without looking.

BUFFY
See?

Buffy, exhausted, takes a step back, unsteady.

BUFFY (cont'd)
Under control.

She walks into Angel, who steadies her.

ANGEL
Well at least tell me you're glad to
see me.

Weary, Buffy turns to him. Lets him enfold her in his arms.

She hugs him, letting go of the scythe and putting both arms around his frame for support.

They stand together a moment, then Buffy pulls back, looking Angel in the eyes - and she KISSES HIM. It's tender at first, but builds, a real kiss.

And as they kiss we PULL BACK to reveal SPIKE, watching, alone. He is stunned.

We see The First standing just behind Spike, in the form of Buffy, arms folded, looking judgmental.

FIRST/BUFFY
That bitch.

And On Spike's pained face, we BLACKOUT.

END OF SHOW